Biomedical findings mature from uncertain observations to validated facts. Although subsequent studies often refute initial appealing findings, newspapers privilege the latter and often fail to cover refutations. Thus, biomedical knowledge and media reporting may diverge with time. Here we investigated how French television reported on three scientific questions relative to attention deficit hyperactivity disorder (ADHD) from 1995 to 2010: i) is ADHD mainly genetic in origin, ii) does methylphenidate treatment decrease the risk of academic underachievement, and iii) are brain imaging techniques able to reveal ADHD in individual patients? Although scientific evidence regarding these questions has evolved during these 16 years, we observed that nine out of ten TV programs broadcast between 2007 and 2010 still expressed only opinions against the current scientific consensuses. The failure of TV programs to reflect the evolution of the scientific knowledge might be related to a biased selection of medical experts.

No abstract

This article deals with the way HBO promotes its shows today using strategies of ‘transmedia storytelling’ (Jenkins 2006). The US pay-per view cable channel has a history of creating a specific promotional system around its programs. Its famous slogan ‘It’s Not TV. It’s HBO.’ accompanied the introduction of narrative complexity in shows like The Sopranos (HBO/Brillstein Entertainment Partner, 1999-2007) or The Wire (HBO/Blown Deadline Productions, 2002-8) for example. Transmedia Storytelling, as theorized by Henry Jenkins, is a way to extend stories across multiple media platforms in order to create a coherent storyworld, giving information on characters or insights on the plots and the narrative universe. This article analyses how HBO is developing strategies of transmedia storytelling. I will focus on two specific television shows, True Blood (HBO/Your Face Goes Here Entertainment, 2008- ) and Game of Thrones (HBO/Television 360/Grok! Television/Generator Entertainment/Bighead Littlehead, 2011- ), in order to understand how HBO managed to promote these shows and expand its brand in the American and international television landscape. I use a dual methodology, first presenting an analysis of the transmedia strategies related to the universes of the shows. Then I will draw on interviews with the creators of these strategies in order to understand how they are included in the promotion of HBO.

The reception of the American TV show Game of Thrones (2011–) by French and Spanish fans and nonfans is addressed via a qualitative methodology, the goal of which is to understand how European viewers perceive themselves as fans and what it means for them to be fans. Analysis of characteristics of a specifically European reception helps us learn what fan studies tell us about fans and what fans really think about fandoms.

No abstract